with Deian Llyr Humphreys
Deian Llyr Humphreys Production Sound Mixer
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David Lascelles
My name is Deian Humphreys and I'm a Production Sound Mixer specialising in television drama and film. With 22 years experience in professional broadcast sound, I have worked as a sound recordist, a sound supervisor and dubbing mixer.
I'm very fortunate to have gained valuable experience working on a variety of programmes live magazine shows, outside broadcasts and travelling the world as a documentary recordist. These different genres and situations have taught me how to apply various techniques in varied situations which mics to use, how to mount them, what they should sound like, and ultimately how to get the best results especially when time is of the essence.
From the outset, when I came to purchase equipment there was no question of how I would mount my boom mics, as I had always been so impressed by Rycote products.' Deian Llyr Humphreys
My journey into TV Production
Starting out At 23 I was late to the industry having spent five years working in the travel business. I had no formal training, just a love of playing and recording live music. My first job in TV was working for a small facility company in London called Fox Television. 2 years and one redundancy later I found myself trying to make a living as a freelance sound recordist.
My first kit purchase was a SQN mixer, Sennheiser MKH60 microphone, Panamic boom pole and pair of HD25 headphones. I was able to use this kit for a number of years working as a documentary sound recordist. The only addition being a couple of Audio Ltd VHF radio mics.
This was when I learnt how to listen there cannot be a substitute for holding a mic yourself and hearing how different it sounds depending on where you position it. Deian Llyr Humphreys
Learning to listen I then moved on to become a sound assistant on a studio based magazine show. Here I received invaluable training in a broader sense. I learnt how to rig microphones on people, instruments, and all sorts of other things that made noises. I was taught how to use a PSC kit and was let loose as a recordist.
This was when I learnt how to listen there cannot be a substitute for holding a mic yourself and hearing how different it sounds depending on where you position it. I believe it's essential to take time to learn where to put' a mic before, as a recordist, you start telling others. This is true of boom mics but also of lavaliers. Discovering where a personal mic works best hidden in artist's clothing takes time, practice and patience.
I started to take note of different qualities in different equipment microphones, mixers, and headphones. Using the variety of kit made available to me meant I could, in time, pick and choose what I regarded as my preferred choice when it came to investing.
Working on Doctor Who Fast forward to the present day and I am currently working on my third series as the sound recordist on Doctor Who'. I'm very fortunate to have working with me boom operators Tam Shoring and Chris Goding. Together we are entrusted with capturing the dialogue as cleanly as possible. With a science fiction show like this, it's easier said than done!
We combine locations with studio work based in Cardiff, and from one episode to the next, as a crew we are taken on a rollercoaster ride through various eras, different planets, and a plethora of monsters.
Riding motorcycles through London, dangling from helicopters, running through narrow tunnels, swimming in goop, sword fighting, or standing on a volcano, I need to ensure that my equipment will stand up to all that Doctor Who' throws our way.
It is essential that what is holding a very sensitive mic is as quiet as possible and this is where Rycote products come into their own.' Deian Llyr Humphreys
Life on the set of a TV Production
My philosophy My philosophy as a recordist is try and get useable audio on all shots. With it being a two camera show, the artists are all rigged on radio mics using Rycote Stickies and a combination of Undercovers or Overcovers.
I have not come across an easier or more effective way of attaching a lavalier believe me I've tried all sorts of different techniques over the years. No fuss, no mess and it's very quick to achieve the desired outcome. For me, the Overcover provides both wind protection and eliminates clothing rustle. Goodness knows what we used to do before their advent! Even for the wide angles I will create a mix for the edit using the radios.
Clean sounding lavaliers are therefore essential achieved only by using Rycote Stickies and Overcovers. When we get into tighter angles we'll cover all the dialogue with the booms, wild tracking any lines that aren't ticked-off' or that were spoilt in any way by extraneous noises. Again, as it's science fiction we are constantly at the mercy of the special effects department and it's a relentless task chasing smoke or steam machines that needn't be on.
No-one waits From the outset, when I came to purchase equipment there was no question of how I would mount my boom mics, as I had always been so impressed by Rycote products.
It is essential that what is holding a very sensitive mic is as quiet as possible and this is where Rycote products come into their own. Being both sturdy and durable the modular system not only helps to keep a £3,500 microphone safe, it protects it from all manner of weather conditions especially in heavy wind and rain. Properly looked after, years on, they remain as good as new, as leaders in their field, Rycote will always be, without doubt, the choice for me.
No-one waits for the sound department. As a team, we know that if we need to change anything, we have to do it quickly. Be it tweaking a radio mi
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with Deian Llyr Humphreys
